The 9-hour event included film and light installations, live film and music performances, and curated programs of film and video.
Tag: 1999
REPORT
Unconventional narratives by John Baldessari, Katherin Resetarits, Hollis Frampton.
SEXUALITY MALFUNCTIONED
(Performance) Anxiety, ambivalence, anticipation.
CAUSE/FFECT
kinetics + chemistry + progress.
Paint It Black
An evening of dark films and videos. Optical printing and video manipulation create dense layers of nausea. Meditations on media and culture. The use of technology for subversive purposes. Dis-ease.
On: location
Films about places and site-specific actions, investigations and de-constructions. “Astria Suparak has cleverly curated a program of films that focus on landscapes and cityscapes.” – The Village Voice
BROKEN MUSIC
Musical instruments are destroyed and technology is applied in peculiar ways. These de- compositions are made for video by both contemporary and historical figures, with a nod to Jimi Hendrix and the Fluxus movement.
BODY/LANGUAGE
Conceptual, performance-based and seminal videotapes from the 1970s with an emphasis on language, contrasted by recent work by Zhuang Huan, who does radical, often painful actions in silence.
Energy Transformation in Modern Cinematography
Recent experimental films from The Netherlands and Austria.
PLAYGIARISM
“This program includes some of the most intriguing recent and historical works [of found footage collage films]” – The Village Voice
Leslie Thornton + Mauricio Kagel
A rare screening of films by experimental composer Kagel + “Peggy and Fred in Hell is one of the strangest cinematic artifacts of the last 20 years, revealing the abuses of history and innocence in the face of catastrophe…”
Bestiary
Alexander Calder, The Wooster Group, Peter Greenaway
Girl Trouble
Chantal Akerman’s first film from age 18 and Sadie Benning’s newest video.
Films In The Round
(full-figured films). Elliptical narratives, repetition, and other round things.
Other Screenings at Pratt
The Pratt Film Series was a weekly program dedicated to showing work not easily accessible to the public and to forging ties across disciplines including performance, music, painting, sculpture, animation, theater, and architecture. Over the course of three years, Suparak presented work from 18 countries, spanning nearly the history of cinema, as well as hosted guest filmmakers and performers, traveling film and music festivals, and collaborations with other New York City venues.
Astria Suparak 